Nikon D3300: From Snapshots to Great Shots

final spine = 0.479"

SylvanN

ikon D3300

From Snap

shots to Great Shots

US $24.99 Can $25.99

now that you’ve bought the amazing nikon D3300, you need a book

that goes beyond a tour of the camera’s features to show you exactly

how to use the D3300 to take great pictures. With Nikon D3300:

From Snapshots to Great Shots, you get the perfect blend of photog-

raphy instruction and camera reference. Beautifully illustrated with

large, vibrant photos, this book teaches you how to take control of

your photography to get the image you want every time you pick

up the camera.

Follow along with your friendly and knowledgeable guide,

photographer Rob Sylvan, and you will:

• Learn the top ten things you need to know about shooting with the D3300

• Master the photographic basics of composition, focus, and depth of field

• Use the D3300’s automatic scene modes for more control over your images

• Understand all the best tricks and techniques for getting great action shots, landscapes, and portraits

• Find out how to get great shots in low light

• Harness the power of HD video recording and capture moving images

Join the book’s Flickr group, share your photos, ask questions,

and discuss how you use your nikon D3300 to get great shots at

flickr.com/groups/nikond3300_fromsnapshotstogreatshots.

Nikon D3300From Snapshots to Great Shots

Peachpit Press www.peachpit.com

Level: BeginnerCategory: Digital PhotographyCover Design: aren StraigerCover Image: Rob SylvanAuthor Photo: Rob Sylvan

facebook.com/PeachpitCreativeLearning

@peachpit

Rob Sylvan is a pho-

tographer, trainer, and

author. In addition to

being KelbyOne’s Light-

room Help Desk Specialist,

he also writes the “Under

the Loupe” column for

Photoshop User magazine, and blogs

about Lightroom at Lightroomers.com.

He is the author of several books and

ebooks, including Taking Stock: Make

money in microstock creating photos

that sell and Nikon D5300: From

Snapshots to Great Shots. Join him on

a landscape photography workshop at

thedigitalphotoworkshops.com

Rob Sylvan

Nikon D3300From Snapshots to Great Shots

Learn the best ways to compose your pictures!

Get great detail in your subjects!

9780133854428_NikonD3300SNP_Cvr.indd 1 4/7/14 2:26 PM

Nikon D3300:From

Snapshots to

Great Shots

This page intentionally left blank

Nikon D3300:From

Snapshots to

Great Shots

Rob Sylvan

Nikon D3300: From Snapshots to Great ShotsRob Sylvan

Peachpit Presswww.peachpit.com

To report errors, please send a note to [email protected]

Peachpit Press is a division of Pearson EducationCopyright © 2014 by Peachpit PressAll photography © Rob Sylvan

Senior Editor: Susan RimermanSenior Production Editor: Lisa BraziealCopyeditor: Suki GearProofreader: Bethany StoughComposition: WolfsonDesignIndexer: James MinkinCover Image: Rob SylvanCover Design: Aren StraigerInterior Design: Mimi Heft

Notice of RightsAll rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected].

Notice of LiabilityThe information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it.

Trademarks“From Snapshots to Great Shots” is a trademark, in the U.S. and/or other countries, of Pearson Education, Inc. or its affiliates. All Nikon products are trademarks or registered trademarks of Nikon and/or Nikon Corporation. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book.

ISBN-13: 978-0-133-85442-8ISBN-10: 978-0-133-85442-6

9 8 7 6 5 4 3 2 1

Printed and bound in the United States of America

http://www.peachpit.com

The camera used while writing this From Snapshots to Great Shots book was generously provided by B&H Photo.

www.bhphotovideo.com

http://www.bhphotovideo.com

Dedication

For Paloma. I love you.

Acknowledgments

My deepest thanks go to Jeff Revell, the author of a number of books in the From Snapshots

to Great Shots series, and specifically the book on the D3100, which I had the honor and

pleasure of updating for the D3200 and D3300. Jeff is a tremendous photographer and

gifted teacher. Thank you for providing such a sound foundation upon which to build.

Any book that has reached the final stage of being published is actually the work of

many hands (eyes, brains, and hearts too) behind the scenes. I owe everyone at Peachpit

a great deal of gratitude, but specifically Susan Rimerman, Ted Waitt, Lisa Brazieal, Suki

Gear, Bethany Stough, Sara Jane Todd, Scott Cowlin, and Nancy Aldrich-Ruenzel, who

were instrumental in getting this book finished, looking so darn fantastic, and out into

the world. Thank you all.

A special thanks to David Brommer and B&H Photo Video for help in securing the

D3300 I used to write this book.

I am grateful for all that I have learned from my friends at the National Association

of Photoshop Professionals, the Digital Photo Workshops, the fantastic instructors at

Photoshop World, and countless numbers of fellow photographers. You all have taught

and inspired me over the years.

I also want to thank my wife, Paloma, for being the love of my life and my number one

supporter during this project; my son, Quinn, for assisting me on many shoots and being

the model in many more; and my family, friends, and neighbors—Ea, Avery, Otis, Hayley,

Mark, Adrienne, Emma, Julia, Paige, Kris, Max, Chris, Anna, Dan, Jayda, Maggie, Jaylin,

Alden, Hayden—for being a part of the book in large and small ways.

I owe a deep debt of gratitude to Nikki McDonald, who took a chance on me a few years

ago and invited me into the Peachpit family. This is all your fault. J

ContentsIntroDuctIon xI

chApter 1: the D3300 top ten LIst 1

Ten Tips to Make Your Shooting More Productive Right Out of the Box

Poring Over the Camera 2

Poring Over the Camera 4

1. Charge Your Battery 5

2. Adjust Your Auto Off Timer Setting 6

3. Set Your JPEG Image Quality 7

4. Turn Off the Auto ISO Setting 9

5. Set Your Focus Point and Mode 11

6. Set the Correct White Balance 12

7. Set Your Color Space 15

8. Know How to Override Autofocus 17

9. Review Your Shots 18

10. Hold Your Camera for Proper Shooting 23

Chapter 1 Assignments 25

chApter 2: FIrst thIngs FIrst 27

A Few Things to Know and Do Before You Begin Taking Pictures

Poring Over the Picture 28

Choosing the Right Memory Card 30

Formatting Your Memory Card 30

Updating the D3300’s Firmware 32

Cleaning the Sensor 33

Using the Right Format: RAW vs. JPEG 35

Lenses and Focal Lengths 38

What Is Exposure? 42

Motion and Depth of Field 45


C o N t e N t S vii

viii N i k o N D 3 3 0 0 : F R o m S N a p S h o t S t o G R e at S h o t S

chApter 3: the Auto MoDes 49

Get Shooting with the Automatic Camera Modes


Auto Mode 52

Portrait Mode 53

Landscape Mode 54

Child Mode 55

Sports Mode 56

Close Up Mode 57

Night Portrait Mode 58

Flash Off Mode 59

Effects Modes 60

Guide Mode 65

Why You May Never Want to Use the Auto Modes Again 66


chApter 4: the proFessIonAL MoDes 71

Taking Your Photography to the Next Level


P: Program Mode 74

S: Shutter Priority Mode 77

A: Aperture Priority Mode 81

M: Manual Mode 86

How I Shoot: A Closer Look at the Camera Settings I Use 89


chApter 5: MovIng tArget 95

The Tricks to Shooting Subjects in Motion


Stop Right There! 98

Using Shutter Priority (S) Mode to Stop Motion 101

Using Aperture Priority (A) Mode to Isolate Your Subject 104

Using Auto ISO the Right Way 105

Keep Them in Focus with Continuous-Servo Focus and AF Focus Point Selection 107

Stop and Go with 3D-Tracking AF 109

Manual Focus for Anticipated Action 109

Keeping Up with the Continuous Shooting Mode 111

ix

A Sense of Motion 112

Tips for Shooting Action 114


chApter 6: sAy cheese! 119

Settings and Features to Make Great Portraits


Using Automatic Portrait Mode 122

Using Aperture Priority Mode 122

Metering Modes for Portraits 124

Using the AE-L (Auto Exposure Lock) Feature 126

Focusing: The Eyes Have It 127

Classic Black and White Portraits 129

The Portrait Picture Control for Better Skin Tones 131

Detect Faces with Live View 131

Use Fill Flash for Reducing Shadows 132

Portraits on the Move 135

Tips for Shooting Better Portraits 136


chApter 7: LAnDscApe photogrAphy 145

Tips, Tools, and Techniques to Get the Most Out of Your Landscape Photography


Sharp and In Focus: Using Tripods 148

Selecting the Proper ISO 150

Selecting a White Balance 152

Using the Landscape Picture Control 154

Taming Bright Skies with Exposure Compensation 156

Shooting Beautiful Black and White Landscapes 158

The Golden Light 160

Where to Focus 162

Easier Focusing 164

Making Water Fluid 165

Directing the Viewer: A Word About Composition 168

Advanced Techniques to Explore 171


x N i k o N D 3 3 0 0 : F R o m S N a p S h o t S t o G R e at S h o t S

chApter 8: MooD LIghtIng 181

Shooting When the Lights Get Low


Raising the ISO: The Simple Solution 184

Using Very High ISOs 186

Stabilizing the Situation 187

Focusing in Low Light 188

Shooting Long Exposures 191

Using the Built-in Flash 193

Compensating for the Flash Exposure 196

Reducing Red-Eye 198

Rear Curtain Sync 200

Flash and Glass 202

A Few Words About External Flash 203


chApter 9: creAtIve coMposItIons 207

Improve Your Pictures with Sound Compositional Elements


Depth of Field 210

Angles 212

Point of View 213

Patterns 214

Color 214

Contrast 216

Leading Lines 218

Splitting the Frame 218

Frames within Frames 220


chApter 10: D3300 vIDeo: BeyonD the BAsIcs 223

Video and the D3300

It’s All About the Lenses 228

Using Accessories 229

Getting a Shallow Depth of Field 231

Giving a Different Look to Your Videos 232

Tips for Better Video 233

Watching and Editing Your Video 235

xi

Expanding Your Knowledge 236


chApter 11: ADvAnceD technIques 239

Impress Your Family and Friends


Spot Metering for More Exposure Control 242

Metering for Sunrise or Sunset 244

Manual Mode 245

Avoiding Lens Flare 248

Using the Sun Creatively 249

Macro Photography 250

Active D-Lighting 251

Customizing Your White Balance 253

Conclusion 255


InDex 257

Bonus chApter 12: AccessorIZe Bonus-1

xii N i k o N D 3 3 0 0 : F R o m S N a p S h o t S t o G R e at S h o t S

IntroductionThe D3300 is a wonderful bit of camera technology and a very capable tool for creating photographs that you will be proud to show others. The intention of this book is not to be a rehash of the owner’s manual that came with the camera, but rather to be a resource for learning how to improve your photography while using your D3300. I am very excited and honored to help you in that process, and to that end I have put together a short Q&A to help you get a better understanding of what you can expect from this book.

Q: is every camera feature going to be covered?

A: Nope, just the ones I felt you need to know about in order to start taking great photos. Believe it or not, you already own a great resource that covers every feature of your camera: the owner’s manual. Writing a book that just repeats this information would have been a waste of my time and your money. What I did want to write about was how to harness certain camera features to the benefit of your photography. As you read through the book, you will also see callouts that point you to specific pages in your owner’s manual (either the small printed manual or the more complete PDF found on the disc that comes with the camera) that are related to the topic being discussed. For example, I discuss the use of the AE-L button, but there is more information available on this feature in the manual. I cover the function as it applies to our specific needs, but I also give you the page numbers in the manual so you can explore it even further.

Q: What about video?

A: While the focus of this book is on creating still photographs, I have devoted one chapter (Chapter 10) to helping you get started with the video functions of the D3300.

Q: So if i already own the manual, why do i need this book?

A: The manual does a pretty good job of telling you how to use a feature or turn it on in the menus, but it doesn’t necessarily tell you why and when you should use it. If you really want to improve your photography, you need to know the whys and whens to put all of those great camera features to use at the right time. To that extent, the manual just isn’t going to cut it. It is, however, a great resource on the camera’s features, and it is for that reason I treat it like a companion to this book. You already own it, so why not get something of value from it?

Q: What can i expect to learn from this book?

A: Hopefully, you will learn how to take great photographs. My goal—and the reason the book is laid out the way it is—is to guide you through the basics of photography as they relate to different situations and scenarios. By using the features of your D3300 and this book, you will learn about aperture, shutter speed, ISO, lens selection, depth of field,

xiiiI n t r o d u c t I o n

and many other photographic concepts. You will also find plenty of full-page photos that include captions, shooting data, and callouts so you can see how all of the photography fundamentals come together to make great images. All the while, you will be learning how your camera works and how to apply its functions and features to your photography.

Q: What are the assignments all about?

A: At the end of most of the chapters, you will find shooting assignments, where I give you some suggestions as to how you can apply the lessons of the chapter to help reinforce everything you just learned. Let’s face it—using the camera is much more fun than read-ing about it, so the assignments are a way of taking a little break after each chapter and having some fun.

Q: Should i read the book straight through, or can i skip around from chapter to chapter?

A: Here’s the easy answer: yes and no. No, because the first four chapters give you the basic information you need to know about your camera. These are the building blocks for using the camera. After that, yes, you can move around the book as you see fit because the remaining chapters are written to stand on their own as guides to specific types of photography or shooting situations. So you can bounce from portraits to shooting land-scapes and then maybe to a little action photography. It’s all about your needs and how you want to address them. Or you can read the book straight through. The choice is up to you.

Q: is there anything else i should know before getting started?

A: In order to keep the book short and focused, I had to be selective about what I included in each chapter. The problem is that there is a little more information that might come in handy after you’ve gone through all the chapters. So as an added value for you, I have written a bonus chapter: Chapter 12, called “Accessorize.” It is full of information on acces-sories that will assist you in making better photographs. You will find my recommendations for things like filters, tripods, and much more. To access the bonus chapter, just log in or join Peachpit.com (it’s free), then enter the book’s ISBN (9780133-854428) on this page: www.peachpit.com/store/register.aspx. After you register the book, a link to the bonus chapter will be listed on your Account page under Registered Products. Note: If you pur-chased an electronic version of this book, you’re set—Chapter 12 is already included in it.

Q: is that it?

A: One last thought before you dive into the first chapter. My goal in writing this book has been to give you a resource you can turn to for creating great photographs with your Nikon D3300. Take some time to learn the basics, and then put them to use. Photography, like most things, takes time to master and requires practice. I have been a photographer for many years and I’m still learning. Always remember that it’s not the camera that makes beautiful photographs—it’s the person using it. Have fun, make mistakes, and then learn from them. In no time, I’m sure you will transition from a person who takes snap-shots to a photographer who makes great shots.

http://www.peachpit.com/store/register.aspx

ISO 100 • 1/80 sec. • f/2.5 • 50mm lens

71

4The Professional ModesTaking Your Photography to the Next Level

If you talk to professional photographers, you will find that the majority

of them use a few selective modes that offer the greatest amount of

control over their photography. To anyone who has been involved with

photography for any period of time, these modes are known as the

backbones of photography. They allow you to influence two of the most

important factors in taking great photographs: aperture and shutter

speed. To access these modes, you simply turn the Mode dial to one of

the letter-designated modes and begin shooting. But wouldn’t it be nice

to know exactly what those modes control and how to make them do

our bidding? Well, if you really want to take that next step in controlling

your photography, it is essential that you understand not only how to

control these modes but why you are controlling them. So let’s move that

Mode dial to the first of our professional modes: Program mode.

The color from the foliage is nicely reflected in the water.

Poring Over the Picture

I love the mix of moving water and long

exposures. The key is having something solid

in the scene to provide contrast against the

movement of the water, and these river stones

were perfect. I used the Bulb setting in Manual

mode, which we’ll cover in Chapter 11, to get

the extremely long exposure duration.

The longer the exposure, the more smooth the water will appear.

ISO 200 • 120 sec. • f/11 • 35mm lens

The wide depth of field keeps detail in focus deeper into the scene.

74 N i k o N D 3 3 0 0 : F r o m S N a p S h o t S t o G r e at S h o t S

P: Program Mode

There is a reason that Program mode is only one click away from the automatic

modes: With respect to apertures and shutter speeds, the camera is doing most

of the thinking for you. So, if that is the case, why even bother with Program

mode? First, let me say that I rarely use Program mode because it just doesn’t give as

much control over the image-making process as the other professional modes. There are

occasions, however, when it comes in handy, like when I am shooting in widely changing

lighting conditions and don’t have the time to think through all of my options, or when

I’m not very concerned with having ultimate control of the scene. Think of a picnic out-

doors in a partial shade/sun environment. I want great-looking pictures, but I’m not

looking for anything to hang in a museum. If that’s the scenario, why choose Program

over one of the scene modes? Because it gives me choices and control that none of the

scene modes can deliver.

When to use Program (P) mode instead of the automatic scene modes• When shooting in a casual environment where quick adjustments are needed

• When you want more control over the ISO

• When you want to make corrections to the white balance

• When you want to change shutter speeds or the aperture to achieve a specific result

Let’s go back to our picnic scenario. As I said, the light is moving from deep shadow to

bright sunlight, which means that the camera is trying to balance our three photo factors

(ISO, aperture, and shutter speed) to make a good exposure. From Chapter 1, we know

that Auto ISO is just not a consideration, so we have already turned that feature off (you

did turn it off, didn’t you?). Well, in Program mode, you can choose which ISO you would

like the camera to base its exposure on. The lower the ISO number, the better the quality

of our photographs, but the less light sensitive the camera becomes. It’s a balancing act,

with the main goal always being to keep the ISO as low as possible—too low an ISO, and

we will get camera shake in our images from a long shutter speed; too high an ISO means

we will have an unacceptable amount of digital noise. For our purposes, let’s go ahead

and select ISO 400 so we provide enough sensitivity for those shadows while allowing the

camera to use shutter speeds that are fast enough to stop motion.

manual Callout

To see a comparison of all the different modes, check out the table on page 326 of the electronic

Reference Manual.

4 : t h e p r o F e S S i o N a l m o D e S 75

Starting points for iSo selection

We discuss ISO quite often in this and other chapters, but it might be helpful if you know where

your starting points should be for your ISO settings. The first thing you should always try to do

is use the lowest possible ISO setting. That being said, here are good starting points for your ISO

settings:

• 100: Bright sunny day

• 200: Hazy or outdoor shade on a sunny day

• 400: Indoor lighting at night or cloudy conditions outside

• 800: Late night, low-light conditions or sporting arenas at night

These are just suggestions, and your ISO selection will depend on a number of factors that will be

discussed later in the book. You might have to push your ISO even higher as needed, but at least

now you know where to start.

With the ISO selected, we can now make use of the other controls built into Program

mode. By rotating the Command dial, we now have the ability to shift the program set-

tings (Nikon calls this “flexible program”). Remember, your camera is using the internal

meter to pick what it believes are suitable exposure values, but sometimes it doesn’t

know what it’s looking at and how you want those values applied (Figures 4.1 and 4.2).

Figure 4.1 this is my first shot, using program mode.

ISO 100 • 1/1600 sec. • f/2 • 50mm lens

Figure 4.2 i decreased the size of the aperture by rotating the Command dial to the left to get a greater depth of field, and the shutter speed slowed down to maintain the same exposure value.

ISO 100 • 1/80 sec. • f/9 • 50mm lens


With the program shift, you can influence what the shot will look like. Do you need faster

shutter speeds in order to stop the action? Just turn the Command dial to the right. Do

you want a smaller aperture so you get a greater depth of field? Then turn the dial to the

left until you get the desired aperture. The camera shifts the shutter speed and aperture

accordingly in order to get a proper exposure, and you will get the benefit of your choice

as a result.

You will also notice that if you rotate the Command dial, a small star will appear above

the letter P in the viewfinder and the rear display. This star is an indication that you modi-

fied the exposure from the one the camera chose. To go back to the default Program

exposure, simply turn the dial until the star goes away, or switch to a different mode and

then back to Program mode again.

Let’s set up the camera for Program mode and see how we can make all of this

come together.

Setting up and shooting in program mode1. Turn your camera on, and then turn the Mode dial to align the P with the

indicator line.

2. Select your ISO by pressing the i button on the lower-left portion of the back of the camera (if the camera’s info screen is not visible, press the i button to turn it on, and then press it again).

3. Highlight the ISO option, and then select OK.

4. Use the Multi-selector to select the desired ISO setting, and then press OK to lock in the change.

5. Point the camera at your subject, and then activate the camera meter by depressing the shutter button halfway.

6. View the exposure information in the bottom of the viewfinder or by looking at the display panel on the back of the camera.

7. While the meter is activated, use your thumb to roll the Command dial left and right to see the changed exposure values.

8. Select the exposure that is right for you and start clicking. (Don’t worry if you aren’t sure what the right exposure is. We will start working on making the right choices for those great shots beginning with the next chapter.)

n


S: Shutter Priority Mode

S mode is what we photographers commonly refer to as Shutter Priority mode.

Just as the name implies, it is the mode that prioritizes or places major empha-

sis on the shutter speed above all other camera settings.

Just as with Program mode, Shutter Priority mode gives us more freedom to control certain

aspects of our photography. In this case, we are talking about shutter speed. The selected

shutter speed determines just how long you expose your camera’s sensor to light. The

longer it remains open, the more time your sensor has to gather light. The shutter speed

also, to a large degree, determines how sharp your photographs are. This is different

from the image being sharply in focus. Two of the major influences on the sharpness of

an image are camera shake and the subject’s movement. Because a slower shutter speed

means that light from your subject is hitting the sensor for a longer period of time, any

movement by you or your subject will show up in your photos as blur.

Shutter speeds

A slow shutter speed refers to leaving the shutter open for a long period of time—like 1/30 of a

second or longer. A fast shutter speed means that the shutter is open for a very short period of

time—like 1/250 of a second or shorter.

When to use Shutter Priority (S) mode• When working with fast-moving subjects where you want to freeze the action

(Figure 4.3); much more on this in Chapter 5

• When you want to emphasize movement in your subject with motion blur (Figure 4.4)

• When you want to use a long exposure to gather light over a long period of time

(Figure 4.5); more on this in Chapter 8

• When you want to create that silky-looking water in a waterfall (Figure 4.6)


Figure 4.3 even the fastest of subjects can be frozen with the right shutter speed.

ISO 299 • 1/500 sec. • f/4 • 70mm lens

Figure 4.4 Slowing down the shutter speed and following the motion conveys a sense of movement in the shot.

ISO 800 • 1/10 sec. • f/8 • 24mm lens


Figure 4.5 in this low-lit night environment, a long exposure was needed to capture the scene.

ISO 1000 • 30 sec. • f/8 • 24mm lens

Figure 4.6 increasing the length of the exposure time gives moving water a misty look.

ISO 100 • 15 sec. • f/16 • 85mm lens


As you can see, the subject of your photo usually determines whether or not you will use

Shutter Priority mode. It is important that you be able to visualize the result of using a

particular shutter speed. The great thing about shooting with digital cameras is you get

instant feedback by viewing your shot on the LCD screen. But what if your subject won’t

give you a do-over? Such is often the case when shooting sporting events. It’s not like you

can go ask the quarterback to throw that touchdown pass again because your last shot

was blurry from a slow shutter speed. This is why it’s important to know what those speeds

represent in terms of their capabilities to stop the action and deliver a blur-free shot.

First, let’s examine just how much control you have over the shutter speeds. The D3300

has a shutter speed range from 1/4000 of a second to as long as 30 seconds. With that

much latitude, you should have enough control to capture almost any subject. The other

thing to think about is that Shutter Priority mode is considered a “semiautomatic” mode.

This means that you are taking control over one aspect of the total exposure while the

camera handles the other. In this instance, you are controlling the shutter speed and the

camera is controlling the aperture. This is important, because there will be times when

you want to use a particular shutter speed but your lens won’t be able to accommodate

your request.

For example, you might encounter this problem when shooting in low-light situations:

If you are shooting a fast-moving subject that will blur at a shutter speed slower than

1/125 of a second, but your lens’s largest aperture is f/3.5, you might find that your

aperture display in the viewfinder and the rear LCD panel starts to blink, and you see

“Subject is too dark” displayed on the LCD. This is your warning that there won’t be

enough light available for the shot—due to the limitations of the lens—so your picture

will be underexposed.

Another case where you might run into this issue is when you are shooting moving water.

To get that look of silky, flowing water, it’s usually necessary to use a shutter speed of

at least 1/15 of a second. If your waterfall is in full sunlight, you may get a message that

reads “Subject is too bright” because the lens you are using only stops down to f/22 at

its smallest opening. In this instance, your camera is warning you that you will be over-

exposing your image. There are workarounds for these problems, which we will discuss

later (see Chapter 7), but it is important to know that there can be limitations when using

Shutter Priority mode.


Setting up and shooting in Shutter priority mode1. Turn your camera on, and then turn the Mode dial to align the S with the

indicator line.


3. Highlight the ISO option, and then press OK.



6. View the exposure information in the bottom area of the viewfinder or by looking at the rear LCD panel.

7. While the meter is activated, use your thumb to roll the Command dial left and right to see the changed exposure values. Roll the dial to the right for faster shutter speeds and to the left for slower speeds.

n

A: Aperture Priority Mode

You wouldn’t know it from its name, but Aperture Priority mode is one of the

most useful and popular of all the professional modes. The mode is one of my

personal favorites, and I believe that it will quickly become one of yours as

well. Aperture Priority mode is deemed a semiautomatic mode because it allows you to

control one factor of exposure while the camera adjusts for the other.

Why, you may ask, is this one of my favorite modes? It’s because the aperture of your lens

dictates depth of field. Depth of field, along with composition, is a major factor in how

you direct attention to what is important in your image. It is the controlling factor of how

much area in your image is in focus. If you want to isolate a subject from the background,

such as when shooting a portrait, you can use a large aperture to keep the focus on your

subject and make both the foreground and background blurry. If you want to keep the

entire scene sharply focused, such as with a landscape scene, then using a small aperture

will render the greatest depth of field possible.

82

When to use Aperture Priority (A) mode• When shooting portraits or wildlife (Figure 4.7)

• When shooting most landscape photography (Figure 4.8)

• When shooting macro, or close-up, photography (Figure 4.9)

• When shooting architectural photography, which often benefits from a large depth

of field (Figure 4.10)

Figure 4.7 a large aperture created a very blurry background so all the emphasis was left on the subject.

ISO 400 • 1/250 sec. • f/2 • 50mm lens

Figure 4.8 the smaller aperture setting brings sharp-ness to near and far objects.

ISO 100 • 1/60 sec. • f/11 • 16mm lens


Figure 4.9 a small aperture was used to capture all the detail on the heads of the bees as they emerged from the hive.

ISO 4000 • 1/320 sec. • f/8 • 400mm lens

Figure 4.10 i typically like to use smaller apertures for architectural shots, to keep everything in focus.

ISO 100 • 1/200 sec. • f/11 • 50mm lens

F-stops and aperture

As discussed earlier, the numeric value of your lens aperture is described as an f-stop. The f-stop

is one of those old photography terms that, technically speaking, relates to the focal length of the

lens (e.g., 200mm) divided by the effective aperture diameter. These measurements are defined

as “stops” and work incrementally with your shutter speed to determine proper exposure. Older

camera lenses used one-stop increments to assist in exposure adjustments, such as 1.4, 2, 2.8, 4,

5.6, 8, 11, 16, and 22. Each stop represents about half the amount of light entering the lens iris as

the larger stop before it. Today, most lenses don’t have f-stop markings since all adjustments to this

setting are performed via the camera’s electronics. The stops are also now typically divided into

1/3-stop increments to allow much finer adjustments to exposures, as well as to match the incre-

mental values of your camera’s ISO settings, which are also adjusted in 1/3-stop increments.


So we have established that Aperture Priority (A) mode is highly useful in controlling

the depth of field in your image. But it’s also pivotal in determining the limits of avail-

able light that you can shoot in. Different lenses have different maximum apertures. The

larger the maximum aperture, the less light you need in order to achieve an acceptably

exposed image. You will recall that, when in Shutter Priority mode, there is a limit at

which you can handhold your camera without introducing movement or hand shake,

which causes blurriness in the final picture. If your lens has a larger aperture, you can

let in more light all at once, which means you can use faster shutter speeds. This is why

lenses with large maximum apertures, such as f/1.4, are called “fast” lenses.

On the other hand, bright scenes require the use of a small aperture (such as f/16 or f/22),

especially if you want to use a slower shutter speed (Figure 4.11). That small opening

reduces the amount of incoming light, and this reduction of light requires that the shut-

ter stay open longer.

Setting up and shooting in aperture priority mode1. Turn your camera on, and then turn the Mode dial to align the A with the

indicator line.





6. View the exposure information in the bottom area of the viewfinder or by looking at the rear display panel.

7. While the meter is activated, use your thumb to roll the Command dial left and right to see the changed exposure values. Roll the dial to the right for a smaller aperture (higher f-stop number) and to the left for a larger aperture (smaller f-stop number).

n

Zoom lenses and maximum apertures

Some zoom lenses (like the 18–55mm kit lens) have a variable maximum aperture. This means that

the largest opening will change depending on the zoom setting. In the example of the 18–55mm

zoom, the lens has a maximum aperture of f/3.5 at 18mm and only f/5.6 when the lens is zoomed

out to 55mm.


Figure 4.11 a small aperture created the need for a long shutter speed, which helped add fluidity to the flowing water.

ISO 800 • 1/4 sec. • f/22 • 60mm lens


M: Manual Mode

Once upon a time, long before digital cameras and program modes, there was

Manual mode. In those days it wasn’t called “manual mode” because there

were no other modes—it was just photography. In fact, many photographers

cut their teeth on completely manual cameras. Let’s face it—if you want to learn the effects

of aperture and shutter speed on your photography, there is no better way to learn than

by setting those adjustments yourself. However, today, with the advancement of camera

technology, many new photographers never give this mode a second thought. That’s truly

a shame, as not only is it an excellent way to learn your photography basics, but it’s also

an essential tool to have in your photographic bag of tricks.

When you have your camera set to Manual (M) mode, the camera meter will give you a

reading of the scene you are photographing. It’s your job, though, to set both the f-stop

(aperture) and the shutter speed to achieve a correct exposure. If you need a faster shut-

ter speed, you will have to make the reciprocal change to your f-stop. Using any other

mode, such as Shutter Priority or Aperture Priority, would mean that you just have to

worry about one of these changes, but Manual mode means you have to do it all your-

self. This can be a little challenging at first, but after a while you will have a complete

understanding of how each change affects your exposure, which will, in turn, improve

the way you use the other modes.

When to use Manual (M) mode• When learning how each exposure element interacts with the others (Figure 4.12)

• When your environment is fooling your light meter and you need to maintain a

certain exposure setting (Figure 4.13)

• When shooting silhouetted subjects, which requires overriding the camera’s meter

readings (Figure 4.14)


Figure 4.12 i set the camera to manual so i could ensure the exposure for the lit signs was correct while also using the slowest possible shutter speed to blur the motion of the people.

ISO 100 • 1/5 sec. • f/22 • 80mm lens

Figure 4.13 Beaches and snow are always a challenge for light meters. add to that the desire to have exact control of depth of field and shutter speed, and you have a perfect scenario for manual mode.

ISO 100 • 1/400 sec. • f/6.3 • 22mm lens


Figure 4.14 i used manual mode to push the person into silhouette.

ISO 100 • 1/250 sec. • f/8 • 200mm lens

Setting up and shooting in manual mode1. Turn your camera on, and then turn the Mode dial to align the M with the

indicator line.





6. View the exposure information in the bottom area of the viewfinder or by looking at the display panel on the rear of the camera.

7. While the meter is activated, use your thumb to roll the Command dial left and right to change your shutter speed value until the exposure mark is lined up with the zero mark. The exposure information is displayed by a scale with marks that run from –2 to +2 stops. A “proper” exposure will line up with the arrow mark in the middle. As the indicator moves to the right, it is a sign that you will be underexposing (there is not enough light on the sensor to provide adequate exposure). Move the indicator to the left and you will be providing more exposure than the camera meter calls for; this is overexposure.


8. To set your exposure using the aperture, depress the shutter release button until the meter is activated. Then, while holding down the Exposure Compensation/Aperture button (located behind and to the right of the shutter release button), rotate the Command dial to change the aperture. Rotate right for a smaller aperture (large f-stop number) and left for a larger aperture (small f-stop number).

n

Remember that when you are using Manual mode, it is up to you to decide what is the

most important thing to worry about. Do you need a fast shutter? Do you want narrow

depth of field? You decide and then you take control. It’s really one of the best ways to

learn how each change affects your image.

How I Shoot: A Closer Look at the Camera Settings I Use

The great thing about working with a DSLR camera is that

I can always feel confident that some things will remain

unchanged from camera to camera. For me, these are the

Aperture Priority (A) and Shutter Priority (S) shooting modes.

Regardless of the subject I am shooting—from landscape to

portrait to macro—I am almost always going to be concerned

with my depth of field. Whether it’s isolating my subject

with a large aperture (Figure 4.15) or trying to maximize the

overall sharpness of a sweeping landscape, I always keep

an eye on my aperture setting. If I do need to control the

action, I use Shutter Priority. If I am trying to create a silky

waterfall effect, I can depend on Shutter Priority mode to

provide the long shutter speed that gets the desired result.

Or perhaps I am shooting a baseball game—I definitely need

fast shutter speeds that will freeze the fast-moving action.

While the other camera modes have their place, I think you

will find that, like me and most other working pros, you will

use the Aperture Priority and Shutter Priority modes for 90

percent of your shooting.

The other concern I have when I am setting up my camera is

just how low I can keep my ISO. This is always a priority for me

because a low ISO will deliver the cleanest image. I raise the

ISO only as a last resort, because each increase in sensitivity is

Figure 4.15 i wanted to blur the background as much as possible to reduce the clutter in the scene.

ISO 200 • 1/640 sec. • f/2 • 50mm lens

an opportunity for more digital noise to enter my image. To that end, I always have the

Noise Reduction feature turned on (see Chapter 7).

To make quick changes while I shoot, I often use the Exposure Compensation feature

(covered in Chapter 7) so I can make small over- and underexposure changes. This is dif-

ferent from changing the aperture or shutter; it is more like fooling the camera meter into

thinking the scene is brighter or darker than it actually is. To get to this function quickly,

I simply press the Exposure Compensation/Aperture button and dial in the desired amount of

compensation. Truth be told, I usually have this set to –1/3 so there is just a tiny bit of under-

exposure in my image. This usually leads to better color saturation. (Note: When shooting

in Manual mode, the Exposure Compensation feature must be set by using the i button.)

One of the reasons I change my exposure is to make corrections when I see the “blinkies”

in my rear LCD. Blinkies are the warning signal that part of my image has been overex-

posed to the point that I no longer have any detail in the highlights. When the Highlight

Alert feature is turned on, the display will flash wherever the potential exists for overex-

posure. The black-and-white flashing will appear only in areas of your picture that are in

danger of overexposure and that might suffer from a loss of detail.

Setting up the highlight alert feature1. Press the Menu button, and then use the Multi-selector to access the Playback Menu.

2. Once in the Playback Menu, move the Multi-selector to the Playback display options and press OK (A).

3. Select Additional photo info, and press the Multi-selector to the right (B).

A B



4. Move the Multi-selector down to select the Highlights option, and then press the Multi-selector to the right to place a checkmark next to the word “Highlights” (C).

5. Repeat the process to include any of the other display options, and then press OK to lock in the changes and exit.

n

Once the highlight warning is turned on,

I use it to check my images on the rear

LCD after taking a shot. If I see an area

that is blinking (Figure 4.16), I will usually

set the Exposure Compensation feature

to an underexposed setting like –1/3 or

–2/3 stops and take another photo, check-

ing the result on the screen. I repeat this

process until the warning is gone.

Sometimes, such as when shooting into

the sun, the warning will blink no matter

how much you adjust the exposure,

because there is just no detail in the high-

lights. Use your best judgment to deter-

mine if the warning is alerting you to an area where you want to retain highlight detail.

To see the highlight, or “blinkie,” warning, you will need to change your display mode.

To do this, press the Image Review button on the back of the camera, and then press up

or down on the Multi-selector until you see the word “Highlights” at the bottom of the

display screen. This will now be your default display mode unless you change it or turn off

the highlight warning.

As you work your way through the coming chapters, you will see other tips and tricks

I use in my daily photography, but the most important tip I can give is that you should

understand the features of your camera so you can leverage the technology in a knowl-

edgeable way. This will result in better photographs.

C

Figure 4.16 the blinking black areas in the highlights are a warning that part of the image is overexposed with the current camera settings.


Chapter 4 Assignments

This will be more of a mental challenge than anything else, but you should put a lot of work into these

lesson assignments because the information covered in this chapter will define how you work with your

camera from this point on. Granted, there may be times when you just want to grab some quick pictures

and will resort to the automatic scene modes, but to get serious with your photography, you will want to

learn the professional modes inside and out.

Starting off with program mode

Set your camera on Program mode and start shooting. Become familiar with the adjustments you can make

to your exposure by turning the Command dial. Shoot in bright sun, deep shade, indoors—anywhere

that you have different types and intensities of light. While you are shooting, make sure you keep an eye

on your ISO and raise or lower it according to your environment.

learning to control time with Shutter priority mode

Find some moving subjects and set your camera to S mode. Have someone ride a bike back and forth, or

even just photograph cars as they go by. Start with a slow shutter speed of around 1/30 of a second, and

then start shooting with faster and faster shutter speeds. Keep shooting until you can freeze the action.

Now find something that isn’t moving, like a flower, and work your way down from a fast shutter speed,

like 1/500 of a second. Don’t brace the camera on a steady surface. Just try to shoot as slowly as possible,

down to about 1/4 of a second. The point is to see how well you can handhold your camera before you

start introducing hand shake into the image, making it appear soft and somewhat unfocused.

Controlling depth of field with aperture priority mode

The name of the game with Aperture Priority mode is depth of field. Set up three items in a line moving

away from you. I would use chess pieces or something similar. Now focus on the middle item, and set

your camera to the largest aperture that your lens allows (remember, large aperture means a small

number, like f/3.5). Now, while still focusing on the middle subject, start shooting with ever-smaller

apertures until you are at the smallest f-stop for your lens. If you have a zoom lens, try doing this exer-

cise with the lens at the widest and then the most telephoto settings. Now move up to subjects that are

farther away, like telephone poles, and shoot them in the same way. The idea is to get a feel for how each

aperture setting affects your depth of field.

934 : t h e p r o F e S S i o N a l m o D e S

Giving and taking with manual mode

Manual mode is not going to require a lot of work, but you should pay close attention to your results.

Go outside on a sunny day and, using the camera in Manual mode, set your ISO to 100, your shutter

speed to 1/125 of a second, and your aperture to f/16. Now press your shutter release button to get a

meter reading. You should be pretty close to that zero mark. If not, make small adjustments to one

of your settings until it hits that mark. Now is where the fun begins. Start moving your shutter speed

slower, to 1/60, and then set your aperture to f/22. Now go the other way. Set your aperture on f/8 and

your shutter speed to 1/500.

Now review your images. If all went well, all the exposures should look the same. This is because you

balanced the light with reciprocal changes to the aperture and shutter speed. Now go back to our origi-

nal setting of 1/125 at f/16 and try just moving the shutter speed without changing the aperture. Make

1/3-stop changes (1/125 to 1/100 to 1/80 to 1/60), and then review your images to see what 1/3 stop of

overexposure looks like. Then do the same thing going in the opposite way. It’s hard to know if you want

to over- or underexpose a scene until you have actually done it and seen the results.

With each of the assignments, make sure you keep track of your modes and exposures so you can com-

pare them with the images. If you are using software to review your images, you should also be able to

check the camera settings that are embedded within the images’ metadata.

Share your results with the book’s Flickr group!

Join the group here: flickr.com/groups/nikond3300_fromsnapshotstogreatshots

I n d e x 257

Index3D-tracking AF mode, 109

12- or 14-bit RAW images, 35

18-55mm VR kit lens, 17

1080p video quality, 225

Aabout this book, xii–xiii

accessories, 229–230

bonus chapter on, xiii, 255

close-up photography, 229

LCD viewing aids, 230

polarizing and ND filters, 229

tripods and stabilizers, 229–230

action photography, 95–117

3D-tracking mode for, 109

annotated example of, 96–97

assignments on shooting, 117

automatic mode for, 56–57

blurring motion in, 113–114

composing shots in, 114–116

continuous shooting mode for, 111–112

conveying motion in, 78, 112–114

depth of field in, 104–105

factors to consider for, 98–100

focus modes for, 107–110, 117

freezing motion in, 45, 77, 78, 98

ISO settings and, 102–103, 105–107

isolating subjects in, 104–105

panning motion in, 112–113

portraits as, 135

shutter speed and, 77, 78, 98, 101–102, 135

telephoto lenses and, 40, 41

tips for shooting, 114–116

See also motion

Active D-Lighting feature, 67, 251–253

Adams, Ansel, 158

additive color, 16

Adobe Photoshop, 236

Adobe Premiere Elements, 236

Adobe RGB color space, 15–16

AE Lock feature, 126, 244

AF-A focus mode, 66, 67

AF-area mode, 11, 108, 128

AF-assist illuminator, 190

AF-C focus mode, 67, 107–108, 135

AF-F focus mode, 224

AF-S focus mode, 11, 12, 25, 67, 127–128

alphabet shooting assignment, 221

angles, compositions using, 212

Aperture Priority (A) mode, 81–85

assignment on using, 92

close-up photography and, 82, 83, 250

flash sync speeds in, 195

HDR photography and, 176

isolating subjects using, 104–105

landscape photography and, 82, 162

photo examples using, 82–83

portrait photography and, 82, 122–123

setting up and shooting in, 84

situations for using, 82–84, 89

waterfall shots and, 165, 167

aperture settings

depth of field and, 46, 81, 84, 89

exposure and, 42, 43–44

focusing attention using, 221

f-stops and, 83

landscape photography and, 82, 162

light levels and, 84

portrait photography and, 122–123

258 n I k o n d 3 3 0 0 : F r o m S n A p S h o t S t o G r e At S h o t S

aperture settings (continued)

prioritizing, 81–85

video recording and, 224

waterfall shots and, 165

zoom lenses and, 41, 84

architectural photography, 82, 83

audio recording, 227, 235

Auto Cleaning feature, 33

Auto Exposure Lock (AE-L) feature, 126, 244

Auto ISO Sensitivity feature, 105–107

Auto ISO setting, 9, 10, 105

Auto mode, 52–53, 68

Auto off timer setting, 6

Auto white balance setting, 13

autofocus system, 17, 164, 189

Automatic Focus (AF) points, 108

automatic modes, 14, 49–69

assignments on using, 68–69

Auto mode, 52–53

Child mode, 55

Close Up mode, 57

effects modes, 60–65

Flash Off mode, 59–60

Guide mode, 65

Landscape mode, 54

limitations of, 66–67

Night Portrait mode, 58, 195

Portrait mode, 53–54, 122

Program mode vs., 74

Sports mode, 56–57

See also professional modes

Bbackgrounds

blurring, 53, 122, 123

isolating subjects from, 46, 104–105

portrait, 122–123, 137

backlit subjects, 124, 242

back-of-camera features, 3

backup battery, 5

battery, charging, 5

battery indicator, 5

beach scenes, 242

Beep setting, 12

Black, Dave, 183

black and white images

landscapes as, 158–160

portraits as, 129–130

blinkies, 90–91, 156, 167

blur

background, 53, 122, 123

motion, 45, 77, 78, 113–114

bonus chapter, xiii, 255

bracketing exposures, 176

brightness, 21, 168

buffer, camera, 112

Bulb setting, 245–247, 256

“bull’s eye” composition, 169

burst mode, 111–112

Ccamera shake, 24, 59, 148, 187–188, 204

camera stabilizers, 230

catchlight in eyes, 134

Center-weighted metering mode, 124–125

charging the battery, 5

Child mode, 55

children

action portraits of, 135

automatic mode for shooting, 55

shooting at their level, 141

chirp sound, 12

Cinema Strap, 230

Clean now feature, 33, 34

cleaning the sensor, 33–34, 47

clipping, 21–22

Close Up mode, 57, 68

close-up photography, 250

accessories for, 229


Aperture Priority mode for, 82, 83, 250

I n d e x 259

assignment on shooting, 256

automatic mode for, 57

clouds in photos, 160

Cloudy setting, 13, 152

CMYK colors, 15

color

additive vs. subtractive, 16

contrast added through, 216

correcting balance of, 12–13

eyes drawn to, 168

RGB vs. CMYK, 15

warm vs. cool, 15, 160

color composition, 214–215

Color Sketch effect, 62

color space settings, 15–17

color temperature, 15, 160

color theory, 16

Command dial, 75, 76

composition, 207–221

action photo, 114–116

angles and, 212


assignments on, 221

color and, 214–215

contrast and, 216–217

creating depth through, 170

depth of field and, 210–211

framing and, 218–220

landscape, 168–170

leading lines and, 218

patterns and, 214, 215

point of view and, 213

portrait, 136–142

reflections and, 210–211, 212

rule of thirds and, 169, 218

compressed RAW format, 35

compression, image, 7, 35

continuous shooting mode, 111–112

Continuous-servo (AF-C) mode, 107–108

contrast, 216–217

cool colors, 15, 160

Creating DSLR Video: From Snapshots to Great Shots, 236

cropping

panoramas, 172

portraits, 137, 138

dDaylight setting, 152

default display mode, 18

deleting images, 20

depth, creating, 170

depth of field

action photography and, 104–105

aperture settings and, 46, 81, 84, 89

close-up photography and, 250

composition and, 210–211

focal length related to, 179

focusing attention using, 221

landscape photography and, 162–163

portrait photography and, 122–123, 143

telephoto lenses and, 40

video recording and, 228, 231, 237

wide-angle lenses and, 38

diffusing light, 250

Digital Photo Workshops, 255

Direct Sunlight setting, 13

direction of travel, 98, 99

display modes, 18–20

display screen. See LCD display

distance

flash range and, 194

hyper focal, 162–163, 179

subject-to-camera, 100

distance compression, 40, 41

distortion, 123

D-Lighting function, 252–253

drive modes, 111

DSLR cameras, 23, 38, 228

dual image formats, 37

dynamic range, 35, 176

Dynamic-area AF mode, 108


eEasy Panorama effect, 65, 175

editing video, 236

effects modes, 60–65


Color Sketch effect, 62

Easy Panorama effect, 65, 175

HDR Painting effect, 64–65

High Key effect, 64

Low Key effect, 64

Miniature effect, 62–63

Night Vision effect, 61

Photo Illustration effect, 62

Pop effect, 61

Selective Color effect, 63

Silhouette effect, 63

steps for selecting, 60

Super Vivid effect, 61

Toy Camera effect, 62


See also scene modes

environmental portraits, 123

exposure, 42–44

bracketing, 176

calculating, 43–44

factors of, 42–43

histograms and, 21–22

long, 72–73, 77, 79, 191–193, 245–247

reciprocal settings for, 44

Exposure Compensation feature, 90

automatic modes and, 66

flash compensation and, 196–198


highlight warning and, 156

i button for adjusting, 158

landscape photography and, 156–158, 167

portrait photography and, 124

shooting modes and, 158

waterfall shots and, 167

exposure triangle, 42, 43

exposure value (EV), 42

external flash, 203

eyes

catchlight in, 134

focusing on, 127

red-eye reduction, 198–200

FFace Priority mode, 131–132

“fake” panoramas, 171–172

fast lenses, 84

fast shutter speed, 77

file formats. See image formats

fill flash, 132–134

Fill Flash setting, 201

filters

Monochrome picture control, 130, 158–160

polarizing and neutral density, 167, 229

fireworks, 245, 246

firmware updates, 32–33, 47

flash

built-in, 193–196

disabling, 59–60, 190–191

external, 203

fill, 132–134

hot shoe bracket, 13

manual power mode, 195–196

range/distance of, 194

Rear Curtain Sync mode, 200–202

red-eye reduction, 198–200

reflections from, 202–203

shutter speed and, 193, 195

Flash Exposure Compensation feature, 67, 134, 196–197

Flash Off mode, 59–60, 190–191

flash synchronization

Rear Curtain Sync mode, 200–202

shutter speed and, 193, 195

Flash white balance setting, 13

Flickr group for book, 25

flower photography, 240–241, 250

I n d e x 261

fluid pan head, 229–230

Fluorescent setting, 13, 153

focal lengths

depth of field and, 179

overview of lenses and, 38–42

shutter speed related to, 100

focus modes, 67

3D-tracking, 109

AF-A, 66, 67

AF-area, 108, 128

AF-C, 67, 107–108, 135

AF-S, 11, 12, 67, 127–128

manual, 17, 109–110, 164–165, 189, 233

focus points, 11–12, 108

focusing

for action photography, 107–110

for landscape photography, 162–165

for low-light photography, 188–191

for portraits, 127–129

for video recording, 224, 228, 233, 237

focusing system, 11–12, 188–189

formatting memory cards, 30–31, 47

frames per second (FPS) setting, 225

framing images

action photos, 114

composition guidelines for, 218–220

internal frames used for, 220

portraits, 136, 137, 138, 141

freezing motion, 45, 77, 78, 98

Front Curtain Sync mode, 201, 202

front-of-camera features, 2

f-stops, 42, 43, 44, 83

See also aperture settings

full-time-servo (AF-F) focus mode, 224

Function (Fn) button, 11, 154

Gglass, shooting through, 202–203

golden light, 160–161

grid overlay, 169

Guide mode, 65

hhand portraits, 142

handheld photography, 187–188, 204

HDMI cable connection, 234, 235

HDR Painting effect, 64–65

High Capacity (SDHC) cards, 30

high-definition video, 225

high dynamic range (HDR) images, 176–178

High Key effect, 64

high-key photos, 64, 157

Highlight Alert feature, 90–91, 156, 167

highlights

overexposure warning for, 90–91, 156, 167

regaining detail in, 157

Highlights display mode, 18, 20, 91

histograms, 21–22

holding your camera, 23–24, 25

Hoodman accessories, 230

horizon line, 169, 179, 218, 219

hot shoe bracket, 13

hyper focal distance (HFD), 162–163, 179

Ii button, 8, 158

image formats

dual, 37

exploring, 47

JPEG, 7–9, 35

RAW, 35–36

image quality settings, 7–9

image resolution, 36

Image Review button, 91, 235

iMovie application, 236

Incandescent setting, 13

information screen, 5, 8

interlaced video, 226

ISO sensitivity settings, 105–107

ISO settings

action photos and, 102–103, 105–107

Auto option, 9, 10, 105

changing on the fly, 11, 103


ISO settings (continued)

expanded settings, 186–187, 204

explained, 9


flash range and, 194

landscape photos and, 150–152

low-light photos and, 184–187

noise and, 10, 56, 150–152, 186

prioritizing, 74–75, 89

sensitivity feature, 105–106

starting points for, 75


JJPEG file format

color space and, 16

explained, 7, 35

quality settings, 7–9

RAW+JPEG option, 37

reasons for using, 35

kKelvin temperature scale, 15

kit lens, 17

LLandscape mode, 54, 68

landscape photography, 145–179

annotated examples of, 50–51, 146–147

aperture settings and, 82


automatic mode for, 54

black and white, 158–160

composition in, 168–170

depth of field in, 162–163

exposure compensation for, 156–158, 167

focusing for, 162–165

golden light in, 160–161

HDR images and, 176–178

hyper focal distance in, 162–163, 179

ISO settings for, 150–152

lens filters for, 167

manual focus mode for, 164–165

noise reduction for, 152

panoramas and, 171–175

picture control for, 54, 154–156

sunrise/sunset in, 160–161

tripods used for, 148–149, 162, 165

waterfall shots in, 165–167

white balance settings for, 152–154

Landscape picture control, 54, 154–156

LCD display

accessories for, 230

display modes for, 18–20

reviewing photos in, 18–22, 25

reviewing videos in, 235

zooming in on, 101

leading lines, 218, 221

lens flare, 248

lens shade, 248

lenses, 38–42

exploring, 47

how they work, 38

normal, 40

portrait, 54

prime, 41

telephoto, 40–41

Vibration Reduction, 60, 149, 187–188


wide-angle, 38–39

zoom, 41

light meters, 86, 87, 124

lighting

Active D-Lighting feature and, 67, 251–253

aperture setting based on, 84

red-eye reduction and, 199

See also flash; low-light photography; sunlight

lightning storms, 245, 247

I n d e x 263

lines

leading, in compositions, 218, 221

learning to see, 221

Live View feature

autofocus modes, 131

Face Priority mode, 131–132

grid overlay, 169


white balance and, 153

long exposures

Bulb setting for, 245–247

low-light photography and, 191–193, 205

moving water shots using, 72–73, 85

Noise Reduction feature for, 152, 191

Shutter Priority mode for, 77, 79

lossless compression, 35

lossy compression, 7

Low Key effect, 64

low-key photos, 64, 157

low-light photography, 181–205

AF-assist illuminator for, 190


assignments on shooting, 204–205

built-in flash for, 193–196

disabling the flash for, 59–60, 190–191

eliminating flash reflections in, 202–203

external flash for, 203

flash compensation for, 196–198


ISO settings for, 75, 184–187

long exposures for, 191–193, 245–247

Night Portrait mode for, 58

noise reduction for, 184–185, 191, 193

Rear Curtain Sync mode for, 200–202

red-eye reduction for, 198–200

self-timer used for, 188

Vibration Reduction lenses for, 187–188

luminance, 21

LV button, 132

mmacro photography. See close-up photography

Maisel, Jay, 207

Manual flash mode, 195–196

manual focus mode, 17, 25

anticipated action and, 109–110, 117

low-light photography and, 189

recomposing shots using, 164–165

video recording and, 224, 233, 237

Manual (M) mode, 86–89, 245


Bulb setting in, 245–247

exposure compensation in, 158


setting up and shooting in, 88–89

situations for using, 86–88, 116, 245

Matrix metering mode, 66, 124, 242

megapixels (MP), 36

memory cards, 30–31

capacity of, 30

formatting, 30–31, 47

tips on choosing, 30

updating firmware from, 33


metering modes, 124–125, 143

Center-weighted, 124–125

Manual flash, 195–196

Matrix, 66, 124, 242

Spot, 124, 242–243

TTL, 195

microphones, 227, 235

Miniature effect, 62–63

mini-HDMI cable, 234, 235

mirror reflections, 212

Mode dial, 14

ModoSteady rig, 230

Monochrome picture control


portrait photography and, 129–130

Moose Falls photo, 146–147


motion



blurring, 45, 77, 78, 113–114

continuous shooting mode for, 111–112

focus modes for, 107–110

freezing, 45, 77, 78, 98

panning, 112–113, 117

shutter speed and, 45, 98, 101–102

techniques for conveying, 78, 112–114


See also action photography

Movie settings menu, 226, 227

multiple-image panoramas, 173–175

overlapping shots for, 173, 174

sorting tip for, 173

steps for shooting, 175

nnatural light, 143

neutral density filter, 167, 229

Night Portrait mode, 58, 69, 195

Night Vision effect, 61

nighttime photography

ISO settings for, 75

Manual mode for, 245–247

Night Portrait mode for, 58

See also low-light photography

Nikon D3300 camera

features illustration, 2–4

firmware updates, 32–33

Guide mode for using, 65

memory cards approved for, 30

properly holding, 23–24, 25

sensor cleaning, 33–34

Nikon MC-DC2 remote cord, 247

Nikon ME-1 microphone, 235

Nikon ML-L3 wireless remote, 247

Nikon SB-700 Speedlight, 203

Nikon Service & Support page, 32

Nikon ViewNX 2 software, 36

noise in images

descriptions of, 10, 150

file size related to, 185

ISO settings and, 10, 56, 150–152, 186

long exposures and, 152, 191

Noise Reduction feature, 90, 152, 184–185, 191, 193, 204

normal lenses, 40

Nubble Lighthouse photo, 192

oonline bonus chapter, xiii, 255

overexposure warning, 90–91, 156, 167

Overview display mode, 19, 20

ppainting with light, 183, 245

panning, 112–113, 117, 234

panoramas, 171–175

creating “fake,” 171–172

Easy Panorama effect, 65, 175

multiple-image, 173–175

patterns

compositions using, 214, 215

learning to see, 221

Peachpit.com website, xiii

perspective, changing, 213

Photo Illustration effect, 62

Photoshop, Adobe, 236

photowalkpro.com website, 176

picture controls, 66

Landscape, 54, 154–156

Monochrome, 129–130, 158–160

Portrait, 53, 131, 143


pixel resolution, 36

Playback button, 101

Playback display options, 18

Playback menu, 18, 90

point of view, 213

I n d e x 265

polarizing filter, 167, 229

Pop effect, 61

pop-up flash, 193–196, 205

Portland Head Lighthouse photo, 50–51

Portrait mode, 53–54, 68, 122

portrait orientation, 138

Portrait picture control, 53, 131, 143

portraits, 119–143

action shots as, 135

AE Lock feature for, 126


Aperture Priority mode for, 82, 122–123


automatic mode for, 53–54, 122

backgrounds for, 122–123, 137

black and white, 129–130

composition of, 136–142

depth of field in, 122–123, 143

environmental, 123

Face Priority mode for, 131–132

fill flash for, 132–134


framing, 136, 137, 138, 141

lenses used for, 54

metering modes for, 124–125, 143

nighttime, 58

picture control for, 53, 131, 143


Pre white balance setting, 13, 253–254

prefocusing cameras, 109–110

prime lenses, 41

professional modes, 14, 71–93

Aperture Priority mode, 81–85

assignments on using, 92–93

Manual mode, 86–89

Program mode, 74–76

Shutter Priority mode, 77–81

See also automatic modes

Program (P) mode, 74–76


automatic scene modes vs., 74

flash sync speed in, 195

photo examples using, 75


situations for using, 74–76

progressive video, 226

Qquality settings

JPEG format, 7–9

video recording, 225–226

QuickTime Player, 236

rRAW file format, 35–37

advice on shooting in, 36

color space and, 16

HDR images and, 176

RAW+JPEG option, 37

reasons for using, 35–36

Rear Curtain Sync mode, 200–202, 205

reciprocal exposures, 44

Record button, 224

recording video. See video recording

Red-Eye Reduction feature, 198–200, 205

reflections

catchlight, 134

eliminating flash on glass, 202–203

photographing, 210–211, 212

Release Mode button, 112

remote switch, 193, 247

resolution

image, 36

video, 225

Retouch Menu, 252

reviewing photos, 18–22

assignment on, 25

display modes for, 18–20

histograms used for, 21–22

timer setting for, 6

zooming in for, 101


reviewing recorded videos, 235–236

RGB colors, 15

RGB histogram display mode, 19

rolling shutter, 234

rule of thirds, 169, 218

Sscene modes, 52–60

Auto mode, 52–53

Child mode, 55

Close Up mode, 57

Flash Off mode, 59–60

Landscape mode, 54

Night Portrait mode, 58

Portrait mode, 53–54

Program mode vs., 74

Sports mode, 56–57

See also effects modes

screen display. See LCD display

SD cards, 30–31, 33, 234

See also memory cards

Selective Color effect, 63

self-timer, 188

semiautomatic modes, 80, 81

sensor cleaning, 33–34, 47

Setup Menu, 6, 31, 32, 34, 154

Shade setting, 13, 152

shadows

Active D-Lighting for, 251

fill flash for reducing, 132–133

shapes, shooting, 216, 221

sharpening RAW images, 36

sharpness of photos, 162, 168

Shooting data display mode, 19

Shooting Menu, 16, 105, 152, 156, 196, 226

shooting modes

automatic modes, 49–69

comparison table of, 74

dial for selecting, 14, 49, 71

professional modes, 71–93

Shutter Priority (S) mode, 77–81

action photos and, 77, 78, 101–102, 135


flash sync speeds in, 195



situations for using, 77–80, 89

hutter speed

action photography and, 77, 78, 98, 101–102, 135


flash synchronization and, 193, 195

handheld photography and, 187–188, 204

lens limitations and, 80

motion and, 45, 98, 101–102

prioritizing, 77–81, 101–102

slow vs. fast, 77

tripod use and, 148

VR lenses and, 187–188

waterfall shots and, 165–167

Silhouette effect, 63

silhouetted subjects, 86, 88

Single-frame mode, 111

single-point focusing, 11–12, 25, 128

skies

exposure compensation for, 156–157

landscape photos and, 155, 156–157

metering for sunrise/sunset, 244

slow shutter speed, 77

snowy owl photo, 28–29

snowy scenes, 87, 242

sound recording, 227, 235

speed of subject, 98–99

Speedlight flashes, 203

Sports mode, 56–57, 68

sports photography


telephoto lenses for, 40, 41

See also action photography

Spot metering mode, 124, 242–243, 256

sRGB color space, 15, 16

staging video shots, 233

starburst effect, 249

I n d e x 267

studio photography, 245

subject-to-camera distance, 100

subtractive color, 16

sunlight

creative use of, 249

ISO settings and, 75

lens flare from, 248

portrait photography and, 138, 139, 143

white balance setting for, 13

sunny 16 rule, 44

sunrise/sunset photos

assignment on shooting, 256

golden light in, 160–161

metering for, 244

Super Vivid effect, 61

synchronization, flash, 193, 195, 200–202

ttack sharp images, 162

telephoto lenses, 40–41

temperature warning, 233

textures, 240–241

timers

Auto off timer, 6

self-timer, 188

tonal range, 21–22

tonemapping process, 176

top-of-camera features, 4

Toy Camera effect, 62

tripods

advice on choosing, 149


landscape photography and, 148–149, 162, 165

macro photography and, 250

stability considerations, 149

video recording and, 229–230

VR lenses and, 149

TTL metering, 195

TV connections, 234, 235

Uunderexposed images, 22, 90

updating the firmware, 32–33, 47

user manual

AE-L button info, 126

effects modes info, 65

external flash info, 203

flash range/settings chart, 194

image quality settings chart, 9

Live View mode info, 131

Nikon memory cards list, 30

picture control settings info, 154

shooting modes comparison table, 74

video function info, 225

Vvanishing perspective lines, 218

Versace, Vincent, 221

Vibration Reduction (VR) lenses, 60, 149, 187–188

video recording, 223–237

accessories for, 229–230

assignments on, 237

book recommendation, 236

depth of field for, 228, 231, 237

DSLR lenses for, 228

effects modes and, 232

focusing for, 224, 228, 233, 237

icons indicating, 224, 225

Live View mode for, 224

picture controls for, 232

quality settings, 225–226

reviewing/editing videos, 235–236

sound settings, 227, 235

starting/stopping, 224

tips for improving, 233–235

white balance settings, 232


Wwarm colors, 15, 160

water

long exposures for, 72–73, 79, 85, 165–167

shooting reflections on, 210–211

waterfall photography, 77, 80, 85, 146–147, 165–167

white balance settings, 12–15


automatic modes and, 66

choices available for, 13

color temperature and, 15

creating custom, 253–254

Function button setup for, 154


Live View feature and, 153



wide-angle lenses, 38–39

depth of field and, 38

distortion caused by, 123

environmental portraits and, 123

tight spaces and, 38, 39

wildlife photography, 28–29, 82

Windows Live Movie Maker, 236

Windows Media Player, 236

wireless remote, 247

YYellowstone National Park, 146–147

Yosemite National Park, 249

ZZoom In/Out buttons, 101

zoom lenses, 41, 84

Documents

Nikon D3300: From Snapshots to Great Shots